Reviewed by: Madan Sara dir. by Etant Dupain Ella Turenne Madan Sara. Documentary film directed by Etant Dupain. Konbit Productions, 2020. 50 minutes. As the music of rasin group RAM opens the film with rhythmic drums and a chorus of voices singing, we are brought into the world of madan sara. Alongside the opening credits is a breathtaking visual compilation of women in the Haitian marketplace. Here, as masters of their domain, they represent the potomitan of the nation's economy. The documentary Madan Sara is a portrait of resilience and an act of resistance. Resilience in the face of neoliberalism and climate change. Resilience in the face of violence and a failing government. The director, Etant Dupain, takes care to present a holistic picture of the women who labor as madan sara day in and day out in Haiti. The everyday is made up of constant acts of resistance countering the negative stereotypes about the country. Dupain intentionally centers Black women's voices by elevating the narratives of two individual women as his key interlocutors: Clotilde Achille and Monique Metellus. They serve as storytellers, griots, and political analysts, illuminating an array of issues facing the nation. Dupain's cinematic approach is worth noting. Interviews with Achille and Metellus are woven alongside perspectives from a few experts, scenes from the markets, and other Haitian voices. Achille's and Metellus's personal narratives and insights depict what it is to be madan sara, and to live in Haiti, facing the challenges and triumphs imposed by both contexts. In this film, challenges and triumphs are equally important, especially in building a narrative that stands in opposition to the many negative representations of Haiti and its people. Dupain opens the film with a reading by Edwidge Danticat, who also appears several times throughout the documentary. She recites a quotation from her first book, Breath, Eyes, Memory, in Kreyòl: There is a place where women live near trees that, blowing in the wind, sound like music. . . . These women, they are fluttering lanterns on the hills, the fireflies in the night. . . . There is always a place where women like cardinal birds return to look at their own faces in stagnant bodies of water. . . . Where women return to their children as butterflies. . . . My mother was as brave as stars at dawn.1 Her soothing voice foregrounds the film's feminist perspective. Danticat's initial questions set the tone: "You start to wonder: Do we even see these [End Page 161] people? Did they become visible to us?" The entire film is a response. While the work of madan sara is commonplace in Haiti and they are a critical element of the nation's economy, their situation is tenuous at best. Caroline Shenaz Hossein describes madan sara as "intermediaries who buy and collect goods, usually foodstuff, from farmers, and then sell the merchandise to détaillants (wholesalers) or ti machann (market vendors) or to large supermarkets."2 She describes how working in the marketplace is a viable way to make a living and support their families. Most madan sara learn the profession from their mothers, grandmothers, or other elders in the community. Such generational transference is confirmed by Achille, who summarizes her life story early in the film, sharing with the audience that she learned the profession at a young age after her parents tried to send her to school. Once she left school, she began selling vegetables in the market. She proudly states that she has supported five children just from being a madan sara. She then chronicles her day (which begins at 3 a.m. and continues into the night). The film reveals the intricate network of arteries that are trading, bartering, acquisition, and vending, a network that is required to maintain such a self-sustaining ecosystem. When one stands back and multiplies these actions by thousands of madan sara, it is clear why these women are the backbone of the economy. Camille Chalmers, an economist featured in the film, does an excellent job of historicizing their work: placing the evolution of madan sara temporally within a colonial context, Chalmers describes how an abundance of crop production by enslaved Africans led to capitalist impulses...